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Landscape painting in Europe was reinvented during the course of the nin eteenth-century\, altered according to shifting definitions of nature in th e context of broad social and industrial changes. Modernity brought the adv ent of the railroads and of tourism into the countryside\, of photography\, and of such things as the portable colour tube\, changing the relation of the artist to nature\, and in turn the meaning and value attached to landsc ape painting.

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If the story is largely centred on French painting\, it is one of enduring tropes governing the apprehension of the natural landscape \, as well as of received techniques in the painting of it. With the rise o f plein air (outdoor painting)\, objective depiction and the truthfulness t o one&rsquo\;s physical response to nature pressured the Academy&rsquo\;s p rescribed recipes of spatial arrangement\, colour application\, or the need for any figurative or narrative element to insert in the landscape. Accord ingly\, landscapists of all stripes over the course of the century navigate d between naturalism and the artifices of painting\, closely observing natu ral phenomena\, or else falling back on established tricks of their craft&m dash\;sometimes in the same work.

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The paintings presented here trace a c hronological and stylistic overview of nineteenth-century European landscap e painting\, illustrating the different modes through which landscape was d epicted. From Dutch-infused watery landscapes\, to seascapes\, to romantici zed depictions of specific locales\, the arrangement culminates in the ligh t-filled essays and complex colour application of the Impressionists and po st-Impressionists.

DTEND:20141005 DTSTAMP:20140801T095709 DTSTART:20140607 GEO:43.2572983;-79.8721078 LOCATION:Art Gallery of Hamilton\,123 King Street West \nHamilton\, ON L8P 4S8 SEQUENCE:0 SUMMARY:Painting the Landscape in Nineteenth-Century Europe UID:348607 END:VEVENT BEGIN:VEVENT DESCRIPTION:

On Sunday June 28\, 1914\, the Art Gallery of Hamilton opened its doors for the very first time to great fanfare and expectation: the featured arti st was William Blair Bruce. Born and raised in Hamilton\, Bruce had died pr ematurely in 1906\, in Stockholm\, at the age of 47. His widow\, the Swedis h artist Caroline Benedicks\, his father\, William Bruce Senior and his sis ter Bell Bruce together offered the City of Hamilton a collection of signif icant paintings by Bruce with the proviso that an art gallery be establishe d. And so was born the AGH. On the occasion of our centennial\, we pay trib ute to this founding donation\, and this significant Canadian painter throu gh the mounting of a major exhibition of his work.

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The exhibition follow s the painter from his early days in Hamilton\, to Paris\, to the French ar tists' colonies of Barbizon\, Grez-sur-Loing and Giverny\, and finally to S weden where together with Caroline he settled on the island of Gotland in t he middle of the Baltic sea\, building a magnificent home and studio called Brucebo\, which today houses the largest collection of works by both artis ts.

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Numbering 100 works\, the Bruce exhibition is the largest ever mount ed and includes paintings never before exhibited publically\, and related a rchival material\, including photographs and letters\, with a view to prese nting as full a picture as possible of the artist and his life. A significa nt publication\, with seven independently authored chapters\, accompanies t he exhibition. Major lenders include the National Gallery of Canada\, the N ationalmuseum (Stockholm)\, the Metropolitan Museum of Art (New York)\, and the Terra Foundation for American Art (Chicago). Significantly\, we're ple ased to announce that we will be bringing over twenty paintings from Sweden for inclusion in the exhibition\, many of which have never-before travelle d to Canada.

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One hundred years later\, we welcome William Blair Bruce ba ck to Hamilton.

DTEND:20141005 DTSTAMP:20140801T095709 DTSTART:20140628 GEO:43.2572983;-79.8721078 LOCATION:Art Gallery of Hamilton\,123 King Street West \nHamilton\, ON L8P 4S8 SEQUENCE:0 SUMMARY:Into The Light: The Paintings of William Blair Bruce (1859-1906)\, William Blair Bruce UID:348606 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Dredging a Wake activ ates video art\, projections and sculptures in magically interactive ways. Norton&rsquo\;s immersive installation works challenge visual perception\, asking viewers to suspend their disbelief via illusionary images that move and reflect in enigmatic ways.
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Precipice is a round room that visitors can enter to find a virtual office space\, a projection of swirling water and swimmer circling the perimeter. The swim mer displaces the virtual objects in the room\, sweeping them up in the flo w of the water\, inciting disorientation and synesthesia in the viewer. Doline is an arrangement of mechanical sculptures made from severed o ffice fixtures that turn slowly in a darkened room\, to the soundtrack of s tories about dreams and the sensation of falling. Doldrums uses mi rrors and a projector to experiment with 3D stereoscopic views and an infin ite reflection of the viewer.

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Jenn E. Norton is an early career artist based in Guelph. This is her first major exhibition in a public gallery. She has been described as &ldquo\;a wizard of simple but magical video compositing\, creating brilliant collage spaces \,&rdquo\; by award-winning filmmaker\, curator and critic\, Chris Gehman. Her video work has been described as &ldquo\;kinetic\, totally charming\, m agical\, [and] emo-conceptual&rdquo\; by Border Crossings art critic Lee He nderson. Her recent works have decidedly delved into the intuitive\, imagin ative and emotive process of image making.

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This piece was commissioned within the Interactive Digital Media Incu bator program at the Art Gallery of Hamilton\, which was made possible with the generous support of the Government of Ontario through the Ministry of Tourism\, Culture and Sport and the Museums and Technology Fund.

DTEND:20150104 DTSTAMP:20140801T095709 DTSTART:20140628 GEO:43.2572983;-79.8721078 LOCATION:Art Gallery of Hamilton\,123 King Street West \nHamilton\, ON L8P 4S8 SEQUENCE:0 SUMMARY:Dredging a Wake\, Jenn E. Norton UID:348605 END:VEVENT BEGIN:VEVENT DESCRIPTION:

People instinctively seek to o rder the world which surrounds them. In that ordering\, the binary is the p ath of least resistance in thinking and language: right/wrong\, black/white \, boy/girl. At birth\, one is given an identity that shapes and informs th e rest of one&rsquo\;s life. Sex and gender are classified into two distinc t\, opposite and disconnected forms of masculine and feminine. The transgen der do not reside neatly or permanently in this binary. The changes they un dergo emphasize how gender is\, in fact\, a continuum. Having moved along t his continuum\, transgender people are in a privileged position to understa nd aspects of the gendered world that most do not.

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This video installation explores the relations between gender \, identity and society using the observations by and lived experience of a diverse group of transgender individuals. Reframing the image as an encoun ter with the viewer\, the work challenges us to consider that the ways in w hich we do not understand are as important as the ways we do.

DTEND:20140824 DTSTAMP:20140801T095709 DTSTART:20140723 GEO:43.6577458;-79.3792455 LOCATION:RYERSON IMAGE CENTRE\,33 GOULD STREET \nTORONTO\, ONTARIO SEQUENCE:0 SUMMARY:The Order of Things\, Judy Ruzylo UID:348408 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Female to &ldquo\;Male&rdquo\; is a self-portrait project documenting the artist&rsquo\;s transition from female to &ldquo\;male&rdquo\; through weekly photographs\, recorded vocal changes\, documents and objects that represent a segment or moment in his gender exploration. The project offers an intimate view into the physical\, psychological\, medical and financial changes Neilly has undergone to shap e and explore his gender. He insists on the use of quotation marks around t he word &ldquo\;male&rdquo\; stating that his identity is something fluid t hat cannot be easily defined by use of a single word. For him\, his gender and body are a construction of the ways in which he perceives himself and t he queer social experiences he has lived. Neilly maintains that his trans i dentity is not a shift from one sex or gender to another\, but rather a con tinual evolution.

DTEND:20140824 DTSTAMP:20140801T095709 DTSTART:20140723 GEO:43.6577458;-79.3792455 LOCATION:RYERSON IMAGE CENTRE\,33 GOULD STREET \nTORONTO\, ONTARIO SEQUENCE:0 SUMMARY:Female to “Male” \, Wynne Neilly UID:348407 END:VEVENT BEGIN:VEVENT DESCRIPTION:

I was always very good at playing hide a nd seek. I would find the smallest hiding spaces and squeeze myself inside them. My favorite hiding spot was in the large wicker laundry basket inside my parent's bedroom closet. This space felt familiar and became a place fo r me to dream. I wanted to blend in with the house and become one with its walls. I wished to become invisible. I found solitude in spaces where no on e would look and felt a connection with a corner\, a closet or the space un der a table.

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My work is an extension of\, and investigation into my need for a physical hiding place. It is a probing device to understand the ways spaces and plac es build our bodies. It is a method of personal deconstruction\, analysis a nd reconciliation. Each painting begins with a photograph\, which I then pr oject onto a canvas. This is a strategy to create an initial composition or blueprint - a starting point to begin painting. Once the foundation has be en laid\, I build on top of it with blocks of flat color. The painting cont inues like this until I feel it has its own sense of stability. I work phys ically\, intuitively and archeologically\, laying down and scraping away co lor. This process is about uncertainty\, feeling vulnerable\, and learning through doing. It's about dreaming\, decision-making and discovery.< /p>\n

I see my paintings as an open house invitation\, which allow for a momentary meditation on th e possibility of an alternate habitation. I can visualize privacy and creat e vessels for dreaming and introspection. Paint allows me to escape my inte rior complex and engage with the world in a material way.

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-- Keiran Brennan Hinton

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DTEND:20140730T210000 DTSTAMP:20140801T095709 DTSTART:20140730T180000 GEO:43.6436621;-79.4219044 LOCATION:KATHARINE MULHERIN - NO FOUNDATION\,1082 Queen Street West\, Toron to\, Canada \nToronto\, Ontario M6J 1H8 SEQUENCE:0 SUMMARY:Open House\, Keiran Brennan Hinton UID:348406 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20140816 DTSTAMP:20140801T095709 DTSTART:20140710 GEO:43.6545056;-79.4425989 LOCATION:Clint Roenisch Gallery\,190 Saint Helen's Avenue \nToronto\, ON M6 H 4A2 SEQUENCE:0 SUMMARY:First the Pleasure\, Then the Thesis\, Stefan Brüggemann\, Aleksand er Hardashnakov\, Jonathan Monk\, Gabriel Orozco\, David Shrigley\, Gedi Si bony UID:348399 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20140802 DTSTAMP:20140801T095709 DTSTART:20140722 GEO:43.6542099;-79.3927314 LOCATION:Bau-Xi Gallery - Toronto\,340 Dundas St. \nToronto\, Ontario SEQUENCE:0 SUMMARY:Gallery Artists Show UID:348343 END:VEVENT BEGIN:VEVENT DESCRIPTION:

A Zine Dream window by Eunice Luk and Alicia Nauta. A collaborative window of larger than life wooden boo k sculptures exploring the form and function of zines and artist books. Thr ee different sculptures consider some of the many forms a book can take\, a nd celebrate the potential of printed matter as a platform for creating\, s haring and circulating ideas. The sculptures represent independent publishi ng as a way to create an alternative to the traditional art object\, encour aging experimentation in an accessible form.

DTEND:20140830 DTSTAMP:20140801T095709 DTSTART:20140806 GEO:43.6497137;-79.4317968 LOCATION:Art Metropole\,1490 Dundas Street West \nToronto\, Ontario ON M6K SEQUENCE:0 SUMMARY:Zine Dream\, Alicia Nauta\, Eunice Luk UID:348341 END:VEVENT BEGIN:VEVENT DTEND:20140808T220000 DTSTAMP:20140801T095709 DTSTART:20140808T190000 GEO:43.6497137;-79.4317968 LOCATION:Art Metropole\,1490 Dundas Street West \nToronto\, Ontario ON M6K SEQUENCE:0 SUMMARY:Zine Dream\, Eunice Luk\, Alicia Nauta UID:348342 END:VEVENT BEGIN:VEVENT DESCRIPTION:

As per Propeller's new motto\, our summer pop-up group show is based on the theme\, "Artists Empowering A rtists." Acting members of Propeller will be sharing the gallery space with artist friends\, colleagues and mentors that they've invited to co-exhibit .

DTEND:20140810 DTSTAMP:20140801T095709 DTSTART:20140730 GEO:43.6446171;-79.4168107 LOCATION:Propeller Centre for the Visual Arts\,948 Queen Street West \nToro nto\, ON M6J 1H1 SEQUENCE:0 SUMMARY:Shared Places\, Shared Spaces UID:348339 END:VEVENT BEGIN:VEVENT DTEND:20140731T210000 DTSTAMP:20140801T095709 DTSTART:20140731T180000 GEO:43.6446171;-79.4168107 LOCATION:Propeller Centre for the Visual Arts\,948 Queen Street West \nToro nto\, ON M6J 1H1 SEQUENCE:0 SUMMARY:Shared Places\, Shared Spaces UID:348340 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Behind the High Grass (2012-)< /p>\n

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The mutable nature of space and time seems a ll the more evident given the post-digital capacity in which we lead our li ves today. Much of human existence is now poised on the act of travel\, fro m the intertwined subterrain of urban public transit to sky-born birds of m etal leaving white trails in their wake. This physical ubiquity runs parall el to that of the contemporary technological id\, a psychic force that seek s both immediate consumption of and presence in the everyplace.

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A foundation of Soft Turns ' long-term research\, movement in space and time is a topic of continual c ontention. The reason\, other than its wily character\, is that it is belie d by stasisâ\;&euro\;&rdquo\;the human experience is oftentimes a bise ction of the self wherein past and present bodies coexist. The same can be said of distance and proximity\, collapsing perception into something of a closed circuit. For their second presentation in O'Born Contemporary's gall ery space\, \;Behind the High Grass (2012&ndash\;)\, Soft Turns has ens nared this particular perceptive enigma\, reiterating it through three dist inct video works and a suite of auxiliary paintings and installations. This project is an ongoing excavation of source images taken from a found post- war travel book by Czech explorers and filmmakers Jiří\; Hanzelka and Miroslav Zikmund.

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The documentation found within\, suitably amateur photographs of the wa nderers' car\, sites seen\, and of themselves\, becomes the raw matter for paintings and animations as well as a guide for Soft Turns' own travels. Th e perceptive shift between old and new is often at the hilt of their projec ts\, as when using stop-motion animation of simple\, home-made sets to pres ent clean\, high definition video works. In fact\, the counter-position of technologies within Soft Turns' formal output is a material referent to the conceptual rehearsal the traveling pair enacts in reverence for Hanzelka a nd Zikmund.

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An approach to the \;provisional \;underlies the varied works comprisi ng this latest execution of Behind the High Grass (2012&ndash\;). Monumenta lizing the common sight of discarded cans and bottles on the ground of publ ic transit vehicles\, "Traveller Never Feels the Wind\, or Hears It" (2014) meditates upon the tides of being. The slow\, pendular movement of glass o ver surface activates an irreducible contingency between self and other\, a lways connected at a node despite never existing as one. The stop-motion an imation's premise ignites an unusual exploration of "physical provenance" a s trails of dripping water track the pathway of the glass\, only to evapora te in an act of time-based erasure. The transient state of emptied beverage vessels becomes an entry point into understanding the oscillatory truth of the travelers to whom they are underfoot.

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A similar shuddering\, like the alternation of an electrical current\, can be seen in "Solitary Man with Nature" (2011) as a man standing in tall grass seems to continuously advance towards and ret ract from the picture plane. The animation primes acute scrutiny through th e mismatched scale between figure and landscape\, not only muddling their t raditional visual pragmatic but also the relationship between body and envi ronment. If all entities in the natural world are made up of the same base molecules and elements\, Soft Turns asks here how time and space enter into the larger conversation of exchange between energy and matter.

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Echoing the syncopation ma de so palpable by "Solitary Man with Nature" is a set of painted transparen ciesâ\;&euro\;&rdquo\;-transcripts of waterfall scenery taken from Han zelka and Zikmund's travelogue. Hovering slightly off the surface of the wa ll\, these reactivated images cast shadowy specters of themselves as if in imitation of light's refraction through a lens. Tentative penetrations into the past\, these impermanent imprints are the conjoined twins of their pre sent\, painted selves.

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"P-19720" (2013) is perhaps the most literal exacting of the parall el research and travel habits between Soft Turns and the Czech explorers. C reated in Bergen against a landscape of water\, cliffs\, and harbour fare\, the video frames a rear windshield modeled after the silver Tatra 87. It w as this vehicle\, a recurring subject in Soft Turnsâ\;&euro\;&trade\; photographic reference material\, which transported Hanzelka and Zikmund th roughout their journey. Blank pieces of postcard-sized paper\, hung like la undry across the broad window\, are the recipients of projected landscape i mages from the Czech travel account. As the day's light shiftsâ\;&euro \;&rdquo\;-a product of stop-motion time lapseâ\;&euro\;&rdquo\;the fl ickering of the pages makes the images unsubstantial and undermines the pho tograph's veridical index of time. These haphazard screens seem like miniat ure versions of the actual scenery beyond them in the distance and successf ully form an equation of proximity and distance\, of past travels and prese nt experiences.

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The summation of Soft Turns' current expression of \;Behind the High G rass (2012&ndash\;)\, cast in the indecisive light of today's technological reality\, is both a registration of physical awareness and an utter disavo wal of belonging to space and time.

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- Rachel Anne Farquharson\, 2014

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about the artists

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Soft Turns \;is the collaborative effort of artists \;Sarah Jane Gorlitz \;and \;Wojciech Olejnik. Currentl y based in Toronto\, Canada\, they have been collaborating on video install ation and stop-motion animation since 2006. The idea of an encounter with s omething\, as an ever-changing space between the foreign and the familiar\, the accessible and inaccessible\, is a central theme of their practice. Th eir collaborations employ found objects\, common\, easily available materia ls (i.e. paper and plywood)\, D.I.Y. methods\, and experimentation as much as intuition to make stop-motion animations and installations that invite v iewers into an active encounter with a narrative\, subject or space.

\n< p style="text-align: justify\;">Wojciech (MFA University of Waterloo 2002) and Sarah Jane (MFA Malmö\; Art Academy 2011) have received support fro m the Swedish Edstrand Foundation\, as well as numerous grants from the Tor onto\, Ontario\, and Canada Arts Councils\; including the Joseph S. Stauffe r Prize in 2008 and a 2013 CCA Paris Residency. In 2011 they were featured in the Fall issue of Canadian Art. They have exhibited frequently in Canada and internationally\; having recent solo exhibitions at YYZ (Toronto)\, So uthern Exposure (San Fransisco)\, Foundation 3\,14 (Bergen)\, Skå\;nes konstfö\;rening (Malmö\;) and Greusslich Contemporary (Berlin)\, a nd significant group exhibitions such as SESC_Videobrasil 18th and 17th Int ernational Contemporary Art Festival (Sã\;o Paulo)\, Now&\;After ' 12\, Museum of Modern Art (Moscow)\, Interaccess (Toronto)\, Dortmund Bodeg a (Oslo)\, Soap Factory (Minneapolis)\, and in early 2014\, Oakville Galler ies (Oakville).

DTEND:20140828 DTSTAMP:20140801T095709 DTSTART:20140807 GEO:43.6471456;-79.4198319 LOCATION:O'Born Contemporary\,131 Ossington Avenue \nToronto \, ON M6J 2Z6 SEQUENCE:0 SUMMARY:Behind the High Grass (2012–)\, Soft Turns\, Wojciech Olejnik\, Sa rah Jane Gorlitz UID:348337 END:VEVENT BEGIN:VEVENT DTEND:20140807T200000 DTSTAMP:20140801T095709 DTSTART:20140807T180000 GEO:43.6471456;-79.4198319 LOCATION:O'Born Contemporary\,131 Ossington Avenue \nToronto \, ON M6J 2Z6 SEQUENCE:0 SUMMARY:Behind the High Grass (2012–)\, Soft Turns\, Sarah Jane Gorlitz\, Wojciech Olejnik UID:348338 END:VEVENT BEGIN:VEVENT DESCRIPTION:

For this project\, I have chos en to use wood\, and more specifically the commodity version of this materi al &ndash\; lumber &ndash\; as a means to take a closer look at how standar ds shape us and our world.

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Dimensiona l lumber is largely used by the construction industry worldwide. In North A merica\, a majority of households are built with a wooden structure or fram e made from dimensional lumber.

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This series is about encouraging people to question and understand the reasoning (thought process) and decision-making behind the 'shape' of things. Moreov er\, it is about the natural resources we harness from the earth and the fo rm\, function and role they play in our everyday lives. Economies and indus tries are built around these decisions and they 'echo' off the center as ri ngs in the core of a tree. Those standards set the 'tone' for future genera tions.

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As Lawrence Busch explains in his book\, Standards: A recipe for reality\, "standards (and technologies) are dangerous because they are so easily naturalized\, because in following them we amplify certain aspects of the world while reducing others\, and w e are thereby overwhelmed by their (and our) power." Standards are also nec essary\, constructive and productive as long as they are fair\, equitable a nd effective. Standards are essential to civilization and they "shape not o nly the physical world around us but also our social lives and even our sel ves." \;

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AR TIST BIOGRAPHY: \;
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SUSANA REISMAN
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Susana Rei sman was born in Caracas\, Venezuela in 1977. She received a BA in Economic s from Wellesley College (Boston\, 1999) and an MFA in photography from the Rochester Institute of Technology (Rochester\, 2005). After teaching photo graphy for a number of years\, Susana now dedicates her time to making art and running \;Circuit Gallery. She lives and works in Toronto.

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DTEND:20141018 DTSTAMP:20140801T095709 DTSTART:20140912 GEO:43.6476631;-79.394744 LOCATION:Gallery 44 Centre for Contemporary Photography\,401 Richmond Stree t West Suite #120\nToronto\, Ontario M5V 3A8 SEQUENCE:0 SUMMARY:Standardizing Nature:: Trees\, Wood\, Lumber\, Susana Reisman UID:348333 END:VEVENT BEGIN:VEVENT DTEND:20140912T200000 DTSTAMP:20140801T095709 DTSTART:20140912T180000 GEO:43.6476631;-79.394744 LOCATION:Gallery 44 Centre for Contemporary Photography\,401 Richmond Stree t West Suite #120\nToronto\, Ontario M5V 3A8 SEQUENCE:0 SUMMARY:Standardizing Nature:: Trees\, Wood\, Lumber\, Susana Reisman UID:348334 END:VEVENT BEGIN:VEVENT DESCRIPTION:
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Resting squarely in the interstices of science\, tradition \, mythology and nostalgia\, the almanac is a particularly \;unique&nbs p\;cultural artifact. As an annual reference for recording and predicting a stronomical events (the rising and setting of the Sun\, for instance)\, tid es\, weather\, and other phenomena\, or as a collection about a specific su bject\, this appendage offers a meditation on the \;cataloguing \;o f time and object\, and specific paradigms of accuracy. A kind of museum of the everyday\, the populist document was not only meant to help farmers pl an the planting of crops\, as in the \;18th \;century th ese ubiquitous monographs became compendia of folk literature and entertain ment. In an era of sparse reading material\, the farmer&rsquo\;s almanacs o f North America and elsewhere became instruments of rural and urban connect ivity.

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Taking the almanac as a point of departure artists \;Colin Miner\, Maggie Groat and Lili Huston- Hert erich&rsquo\;s site-specific\, vitrines installations consider almanac-rela ted themes\, visually tracing the dialectic possibilities of informational patterns\, text as artifact and alternative research collections.

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\nARTIST BIOGRAPHY: \ ;
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COLIN MINE R
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Colin Miner is an artist from Halifax now based in Toronto. Since completi ng a BFA and MFA at The University of British Columbia he is now finishing a PhD in Visual Arts and Culture at Western University. Miner has presented solo exhibitions nationally and participated in group exhibitions both nat ionally and internationally in Germany and China. Alongside an art practice Miner works with writing\, design\, and a curatorial practice through the publication \;Moire.

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ARTIST STATEMENT \;

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T he relations and connections between the absent and present provide access to the political. The evil eye approaches while keeping distance\, signifyi ng a boundary of the in-between. What askew traces might be left in the dar kness of the subterranean and the constellation? Coal becomes Aniline: chem ical of alchemical properties that bring forth all color. Taken together th e brilliant white of stars\, of reflection and refraction\, is light that s hunts back to darkness through blindness and overexposure. Presently we occ upy the blue hour\, a haunting and anxiety resting within the photographic as a shimmering cloak of silver. \;My artistic practice seeks to evoke\ , rather than seize\, a photographic state of being. I think of this along philosophical terms as a questioning of the ontology of photography &ndash\ ; as a study of being through an artistic practice. This takes form in the production of photographic prints\, sculptural assemblage and video work th at investigate the material and conceptual nature of photography. Essential to this investigation is a consideration of the qualities of lightness\, d arkness\, reflection\, and refraction. In posing the question of how photog raphy might be\, my work attempts to position a conversation in relation to the terms of the anxious\, cyclical\, and askew.

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MAGGIE GROAT
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Maggie Groat is a visual artist working in a variety of me dia including collage\, sculpture\, artists&rsquo\; books\, site-specific i nterventions\, and field studies. Forming an ongoing research-based practic e\, Groat's work explores studies for possible futures\, salvage practices\ , relationships and reconnections to place and ancient knowledge systems fr om an indigenous perspective. Through reconfiguring and recontextualizing f ound materials\, she assembles collages\, sculptures and tools that enable moments of envisioning and the potential for action. \;Maggie studied v isual art and philosophy at York University before attending The University of Guelph\, where she received an MFA degree in 2010. \;She is represe nted by Erin Stump Projects in Toronto.

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Earlier this year\, \;Groat curated and edited an alternative collec tion of research published by Art Metropole entitled \;The Lake\, and was included in \;A Problem So Big it Needs Other People \;curated by cheyanne turions at SBC galerie d'art contemporain in M ontreal. In the coming months\, her work will be a part of shows at Republi c Gallery in Vancouver\, the Elora Centre for the Arts\, and the Museum of Contemporary Canadian Art in Toronto. Solo shows at ESP\, YYZ and a site-sp ecific project and self-directed residency at Brock University&rsquo\;s Rod man Hall in St. Catharines will follow in 2015. Her work has been included or reviewed in Front Magazine\, Kolaj Magazine\, Cmagazine\, The Toronto St ar\, Akimblog and Canadian Art.  \;Maggie currently lives on the southe rn shore of Lake Ontario\, but will spend Fall 2014 in Vancouver as the Vis iting Artist-Scholar-in-Residence at Emily Carr University of Art and Desig n.

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DTEND:20141018 DTSTAMP:20140801T095709 DTSTART:20140912 GEO:43.6476631;-79.394744 LOCATION:Gallery 44 Centre for Contemporary Photography\,401 Richmond Stree t West Suite #120\nToronto\, Ontario M5V 3A8 SEQUENCE:0 SUMMARY:Data Mine\, Lili Huston-Herterich\, Colin Miner\, Maggie Groat UID:348331 END:VEVENT BEGIN:VEVENT DTEND:20140912T200000 DTSTAMP:20140801T095709 DTSTART:20140912T180000 GEO:43.6476631;-79.394744 LOCATION:Gallery 44 Centre for Contemporary Photography\,401 Richmond Stree t West Suite #120\nToronto\, Ontario M5V 3A8 SEQUENCE:0 SUMMARY:Data Mine\, Maggie Groat\, Lili Huston-Herterich\, Colin Miner UID:348332 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20140802 DTSTAMP:20140801T095709 DTSTART:20140723 GEO:43.6412968;-79.4331559 LOCATION:Gallery 1313\,1313 Queen Street West \nToronto\, Ontario M6K 1L8 SEQUENCE:0 SUMMARY:Orpheus Within Us\, Andreea Alta Mihartescu UID:348330 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20140906 DTSTAMP:20140801T095709 DTSTART:20140807 GEO:43.6492577;-79.4214691 LOCATION:Cooper Cole\,1161 Dundas Street West \nToronto\, ON M6J1X3 SEQUENCE:0 SUMMARY:AS A BODY\, Jody Rogac\, Camilla Wills\, Lauren Luloff\, Jenine Mar sh\, Olivia Dunbar\, Allison Katz\, Mira Dancy UID:348327 END:VEVENT END:VCALENDAR